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INTERVIEW: Suffragettes and Stand-Ins: SUFFS‘ Abigail Aziz

by Basil Considine -

Danyel Fulton as Ida B. Wells, Trisha Jeffrey as Mary Church Terrell, and Victoria Pekel as Phyllis Terrell in the national touring production of SUFFS, which plays at the Orpheum Theatre in Minneapolis from April 7-12, 2026. Each of these roles is covered by singer-actor Abigail Aziz. Photo by Joan Marcus.

Behind every musical is someone fretting about what to do “just in case”. Cancelled flights, vacations, medical emergencies, and COVID outbreaks are just a few things that might have a director scrambling to fill a hole in the cast. For major musicals, whether playing in New York or on a national tour, a system of understudies, covers, and swings provides a network of talent ready to step in. For SUFFS, the musical exploring the struggle to give American women the right to vote, one of those key persons is Abigail Aziz.

Who’s waiting in the wings and what do they cover? That depends on the show, and to some degree how similar or different the musical, dramatic, and physical demands are for the cast of characters. If you’re a triple threat who sings, acts, and dances at a high level, you might find yourself covering many in one show – meaning you have to know not only their songs, dances, and lines, but also the entrances and exits and any blocking in-between.

For Aziz and SUFFS, that means being Offstage Principal Cover, understudying Ida B. Wells, Dudley Malone, Mary Church Terrell, and Phyllis Terrell/Robin. She spoke with the Arts Reader’s Basil Considine about life on her first national tour.

Triple threat singer-actor-dancer Abigail Aziz.

You’re a recent University of Michigan BFA Musical Theatre graduate, performing in a national tour less than a year later. Are there particular skills or experiences from your training that you look at differently now that you’re applying them on the road?

A big thing from school I learned that I think shifted as I joined tour was the process in building the characters I was playing. I was lucky enough to learn how to build a character from the ground up at school and make it my own, and while I am still able to do that on the road, it became different when taking into account that I would be an offstage cover. The biggest question I came face-to-face with was “How do I build a character that is my own that will also maintain the integrity of the show and the directors vision that was built in the room on other actors?”

It was such an honor to see how the actors I covered built the characters for the themselves and I loved being able to pull inspiration from the choices they were making and would continue to make 8 times a week. Taking that all into account, I learned that there doesn’t have to be a set choice that stays the same. It lives and breathes not only with who you are acting with, but how I myself am feeling that day.

It’s a beautiful feeling that keeps the show alive for me and keeps me on my toes with each time I have the honor of going on.

What was your path like to musical theatre?

I was a little late to the world of musical theatre. I started out in competition dance and the concept of musical theatre was introduced to me through performing musical theatre style pieces in competition. Singing came later as a hobby through mini plays and talent shows thrown by my after school programs and summer camps. It wasn’t until I had switched over to Metropolitan School of the Arts, a performance-based studio, that I would begin to consider the idea of pursuing musical theatre as a career through the guidance and support of my teachers. Then, over Memorial Day weekend in my sophomore year of high school, my parents took me to see Waitress on Broadway, where I knew then and there that this was what I wanted to do.

The way that performance made me feel was how I wanted to make people feel through the art of singing and dancing and I’m proud to say I haven’t looked back since.

You’re the Offstage Principal Cover for SUFFS. What does a “normal” show day look like for you?

A “normal” show day for me is exploring whatever city we may be in at the time, maybe rehearsal if it’s scheduled that day, then going to work and hanging with my fellow swings/covers! If I find out within that day that I am on, I will try to get in a vocal warm up and go over any questions I may have by looking through videos or communicating with our wonderful dance captain!

What’s the shortest notice that you’ve had for stepping in?

One day I found out at half hour that I would be on for that evenings show. It was fun though because it was an opening for a new city, so I got to participate in sound check, which is something I had never done before!

In addition to performing, you’ve done some choreography. Do you have any projects that you are working on?

Not at the moment. The most I have are combos I create in my spare time, but I would love to be more involved in choreographic work in the future!

What is a favorite moment of the show that you are (sometimes) in?

My favorite moment that I can be in is the March. That number is always so empowering to do, and to get to be on stage with the whole cast in that moment feels electric, especially since there are only so many moments where everyone is on stage together.

What is a favorite moment of the show that you are not (sometimes) in?

A favorite moment I am not in is “Great American Bitch”.

While the song itself is so fun to watch, I love what it represents for the characters in that moment.

We had such a build up to the March where it would get intense and serious, so to have this little moment of fun brings a sense of relatability and vulnerability to the characters that allows the audience to really connect and fall in love with them as we continue to see this journey they go on.

What is a favorite experience from the tour so far?

A favorite experience I had has to be the sitzprobe. To hear the score in all its glory for the first time was unlike anything I could’ve imagined. It brought just another layer of excitement for what was ahead as we prepared to open our show and get on the road. Seeing my cast members also thrive with the full band supporting them had me in awe, and just amplified my gratitude and love for them.

What does luggage look like for you as a touring artist?

I can’t lie – luggage for me is always a gamble and game. I have two checked bags and a carry-on, and even though you would think it’s easy to maintain, I somehow always find a way to play Tetris to ensure my bags aren’t overweight.

Let’s just say I’ve learned that my past habits of overpacking had to quickly be unlearned especially if I was going to pick up new pieces along the road. A girl’s gotta shop every now and again!

Any things that you are looking forward to doing or trying in the Twin Cities?

I want to experience the Mall of America! Call me cliche, but I would love to say I’ve at least walked through the building.

It’s fun to be a tourist while on tour, so I hope to keep that up in the Twin Cities and I can’t wait to see what it has to offer!

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Suffs plays at the Orpheum Theatre in Minneapolis from April 7-12.

Basil Considine
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